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LIN FENGMIAN (CHINESE 1900-1991)
美国 北京时间
2021年04月24日 开拍 / 2021年04月22日 截止委托
拍品描述 翻译
Recumbent Nudeink and watercolor on paper 48 x 42 cm (18 7/8 x 16 1/2 in.) signed and marked with artist seal lower left PROVENANCE Private South American Collection Originally acquired circa 1960 LOT NOTESA visual pioneer and prominent pedagogue - one of the Four Great Academy Presidents and teacher to Zao Wou-Ki and Wu Guanzhong - Lin Fengmian is one of the most significant Chinese artists in modern history. Born at the start of the century in a village in the Guangdong province, Lin displayed great artistic talent at an early age, which in 1919 landed him in a study program in France. He first travelled Europe for several years, earning his money painting signboards. In Paris, he discovered Fauvism, Post-Impressionism, Primitivism and Cubism, and encountered famous compatriots like Xu Beihong. In Berlin, the strong social component of German Expressionist works, particularly by Emil Nolde and Erich Heckel, left an indelible impression that shaped Lin’s practice as both painter and teacher. Upon returning to Paris, he studied at the L'Ecole nationale superieure des beaux-arts, and at studio of Fernand Cormon, who also taught Vincent van Gogh, Emile Bernard, Henri de Toulouse-Lautrec, and Chaim Soutine.

Lin returned to Republican China in 1926, where he was first appointed as director to the Beijing Academy of Art and then the Hangzhou National College of Art (later the China Academy of Art), introducing European Modernism to a new generation of Chinese painters. In his own work, far from simply adopting European principles, Lin developed a novel, hybrid aesthetic that drew heavily from traditional literati brush painting, including his choice of medium (ink on rice paper), incredible gestural clarity and diaphanous color application. A well-noted hallmark of Lin's oeuvre, seen here, is his use of a square format, used in Europe but at the time highly unusual in Chinese scroll painting. The present subject of the nude (which he returned to frequently), too, is informed by Western typologies but rendered with the ingenuous breviloquence of traditional Chinese art.

Lin's artistic and intellectual leadership also made him a target. This obliterated much of his early output: during the Second Sino-Japanese War (1937-1945), his studio was pillaged by soldiers, and, during the Cultural Revolution (1966-1976), the artist destroyed what he could in an attempt to safeguard himself and his friends. He was nevertheless persecuted, tortured, and imprisoned for four and a half years. Finally, in 1977, he was allowed to travel to Brazil to visit his wife Alice Vattant and their daughter, from whom he was estranged for more than twenty years. Lin made recurring visits to them from Hong Kong, where he settled and worked prodigiously until his death in 1991.

The present painting, evidently brought over to South America during one of these visits, is highly representative of Lin's interests and skill: his propensity for cropped compositions and limited, striking color palettes, as well as his preference for the ink on paper medium, is immediately apparent. The singular, monumental female figure, which appears time and again in his works, is shown enveloped in washes of powder blue reminiscent of Song period ceramics, which the artist cited as an important influence. Her posturing and contemplative downward gaze lends to an atmosphere of quiet introspection and serenity that permeates Lin's work. Altogether, the painting is a clear testament to the artist's mastery and enduring legacy.CONDITION Observed out of frame, the work appears in very good original condition. Scattered spotting to the upper right corner and edge, lower right corner and legs of reclining woman. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

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